This article is part of an ongoing ethnography of the Japanese television industry focusing on its attempts to experiment with live, interactive content that was manipulable via smart devices, laptops, and remote controls. Based on 18 months of fieldwork in the Japanese television industry in four major TV network offices and two production companies, it also incorporates interviews with more than 30 broadcast company employees. I use two case studies of early interactive television programming to discuss the strategies producers have used to create community and promote identification among audiences of these shows: ‘Arashi Feat. You’ was a live music event that courted a large audience through the involvement of a massively popular boy band and promoted the idea of ‘turning viewers into users’ by allowing them to play musical instruments along with the band. ‘The Last Award’ allowed participants to submit and evaluate each other’s videos live through a dedicated user interface. Through these examples, I argue that participation alters the nature of television spectacle and results in changes to the way producers address and inscribe audiences as cocreators of content. The rhetoric used by interactive television accordingly defaults to ‘we’ and ‘us’ and features accessible and relatable celebrities as surrogates for the audience.

本文是日本电视业正在进行的人种志研究的一部分，重点是日本人尝试通过智能设备，笔记本电脑和遥控器操纵实时互动内容的尝试。它在日本电视行业的四个主要电视网络办事处和两家制作公司进行了为期18个月的实地考察，并结合了对30多位广播公司员工的采访。我使用两个早期交互式电视节目的案例研究来讨论制片人用来创建社区并促进这些节目的观众认同的策略：“岚ashi壮举”。您”这是一场现场音乐活动，通过一个广受欢迎的男孩乐队的参与吸引了大批观众，并通过允许他们与乐队一起演奏乐器来推广“将观众变成用户”的想法。通过“最后的奖项”，参与者可以通过专用的用户界面实时提交和评估彼此的视频。通过这些例子，我认为参与改变了电视奇观的性质，并改变了制片人处理和铭刻观众为内容创造者的方式。因此，交互式电视使用的措辞默认为“我们”和“我们”，并且具有可访问且相关的名人作为观众的代名词。